审美范畴视域中的《女神》再解读  

Reinterpretation of Goddess under the perspective of Aesthetic Category

作　　者：王俊虎[1] 邱跃强 

机构地区：[1]延安大学文学院,陕西延安716000

出　　处：《井冈山大学学报（社会科学版）》2017年第2期107-111,136,共6页Journal of Jinggangshan University(Social Sciences)

基　　金：国家社科基金项目"陕西文学对延安文学的承传与发展研究"(项目编号:12XZW020);陕西省高水平大学建设专项资金资助项目"中国语言文学"(项目编号:2013SXTS01)

摘　　要：《女神》是郭沫若的第一部诗集,也是其代表作与成名作。《女神》甫一出版,便引起了极大的轰动,开一代诗风,被广大青年所争相阅读。这部诗集之所以如此受读者欢迎,除了思想上反映了"狂飙突进"的时代精神和形式上主张"绝端自由"的诗体大解放而外,还由于《女神》蕴涵着丰富的审美范畴——崇高、优美、丑等。不同审美范畴之间的相互渗透与转换使得《女神》中的诗歌充满了艺术的跳跃性,这也是其成为文学经典的重要原因之一。Goddess is the first Poetry Anthology of Guo Moruo and is also his representative work and masterpiece. Goddess brought a new wave to the poetry. As soon as it was published, it attracted great attention of people and was read by the mass youths. The favor of the anthology among the readers is not only the result that it showed the spirit of times of the Strom and the Stress in spirit and the great liberation of the style of verse of the extreme freedom, but also the result that Goddess has plenty of aesthetic categories, including lofty, grace, disgrace, et cetera. The mutual permeation and transference between different aesthetic categories allows the Goddess be full of art. This is also an important mason that Goddess became one of the literary classics.

关 键 词：《女神》 审美范畴 崇高 优美 丑 

分 类 号：I207.4[文学—中国文学]